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Guy Schraenen Éditeur Maike Aden: Guy Schraenen. A foreigner abroad In this exposé I will try to retrace more than fifty years of the multifaceted activities of Guy Schraenen, one of the key figures of the international avant-garde movement focussing on inde- pendent strategies of producing, publishing and disseminating artworks and concepts. His various roles include director of an avant-garde art gallery, publisher of artists’ publications, partic- ipant in international networks, collector and organizer of numerous exhibitions and events. He embodied a differentiated view on all aspects and forms of artists’ publications, not only printed matter such as books, newspapers, magazines, post- cards, catalogues, posters and photos by artists, but also objects, video and film and a very special commitment to sound art projects. Dealing with this genre in all possible roles, as pro- ducer, publisher, distributor, collector, curator, archivist, film- maker, broadcaster, theorist and advisor is unique within this field of art and makes him a decisive link between the artists, the institutions and the public. GALERIE KONTAKT From his initial base in Antwerp, Schraenen initiated a range of broadly diverse projects which were from the beginning linked to various national and international contexts. In 1964, he founded Galerie Kontakt 1. In the early years the programme 1 Information on the professional activities by Guy Schraenen can be found in G. Schraenen, An Archive as Artistic Concept, exhibition catalogue, Bremen, 76 Maike Aden was concentrated on the field of Lyrical Abstraction and Post-Constructivism. Artists including Eduard Bal, Antoine De Bary, Bram Bogart, Jean Degottex, Jef Geys, René Guiette, Paul Van Hoeydonck, Georges Mathieu, and Vantongerloo were presented 2. Later on, the programme shifted to activities related to the new avant-garde movements such as Visual poetry, Sound poetry, Sound art, Conceptual art, Fluxus, Mail art and Artists’ publications. Jef Geys’ first gallery exhibition. Gallery Kontakt (1966). Exhibition announcement. Neues Museum Weserburg, 2001; G Schraenen, Collected Writings. Essays- Statements-Interviews 1974-2013, compiled by Bettina Brach in collaboration with Maike Aden, Bremen, Neues Museum Weserburg, Centre for Artists’ Pub- lications, Archive Guy Schraenen, 2013, and www.guyschraenenediteur.com. 2 Cf. Pierre-Jean Foulon, “Photographie et livres d’artistes”, in Julie Bawin, Art actuel & photographie, Namur, 2008, p. 25. Guy Schraenen. A foreigner abroad 77 GUY SCHRAENEN ÉDITEUR In order to broaden the audience of the gallery by means of multiplication and distribution possibilities, Schraenen invited artists from 1973 on to release their artworks in the form of a publication, either a book, magazine, catalogue, postcard, multiple, poster, photo, object, cassette, record or film. This was the starting point of the independent publishing house Guy Schraenen éditeur in Antwerp 3. TEXT – SOUND – IMAGE From the start, it was important to Schraenen to release artworks which were not only based on text and image, but also on sound. The inaugural publication, Portrait-Pétales. Biopsie 13 (1973), a collaborative work between the sound poet Bernard Heidsieck and the Antwerp based visual artist Eduard Bal, combined a record Guy Schraenen, diagram of his activities (2016). 3 Marie-Cécile Miessner, “Les éditions de Guy Schraenen”, Nouvelles de l’estampe, n° 33, 1977, p. 52-53. 78 Maike Aden and a book. Another example of the many multimedia projects was the photo-record-book Encoconnage (1974) consisting of Schraenen’s photographic montage of a performance by Françoise Janicot on a sound work by Bernard Heidsieck, where Janicot binds herself up from feet to head with a string. The multimedia concept was also realized, to give one more of many other possible examples, in the three issues of Revue AXE (1975-1976). This magazine comprised loose, folded and bound works on different material, as well as in different formats and techniques by about 30 contemporaries including an hitherto unreleased page of the manuscript “Bezette Stad” by the Antwerp poet and writer Paul van Ostaijen. In addition, a record could be found in each issue. The deluxe editions included a three-minute super 8 film by artists such as Brion Gysin, Jean Degottex and François Dufrêne who experimented with the format film for the very first time. Singular film projects and sound projects such as Œuvre Désintégrale 1, 2 & 3 (1976) by the sound poet François Dufrêne and The Poet’s Tongue (1977) by Ulises Carrión were also released in the frame of the editorial programme of the publishing house. Some publications, for example 15 cartes postales (1974), were the first of their kind. The series consisted of works especially designed for this postcard project which was conceived as an alternative to a catalogue, repre- senting the artists with whom Guy Schraenen éditeur worked at that time. ARTWORKS IN THE FORM OF A BOOK According to his widely quoted statement: “The artist’s book is not an art book. The artist’s book is not a book about art. The artist’s book is a work of art” 4, Schraenen defined artists’ books 4 The complete definition can be found in the special issue “Boek als boek”, in Kunstenaarsboeken, Gent, 1988, s.p. Guy Schraenen. A foreigner abroad 79 Bernard Heidsieck, François Janicot, Guy Schraenen, Encoconnage (1974), photo-record-Book. as “artworks in the form of a book”. A very few examples of the rich and varied types of books published by Guy Schraenen éditeur shall be given here. In 1974, an intense and important collaboration started with the Argentinian artist Mirtha Dermisache whose production lies between visual art and writ- ing. Her intention was that her one-off pieces in the form of abstract “graphic texts”, “stories”, “information sheets”, “post- cards”, “letters” and “books” should come to life as multiple publications, accessible to a wide public 5. Dermisache’s works were rarely published before Schraenen became the first to 5 G. Schraenen, “A transatlantic ‘Affair’”, in Mirtha Dermisache, exhibition catalogue MALBA, Buenos Aires, Fundación Espigas, 2017. 80 Maike Aden regularly publish her 6. A most notable one was the European issue of Diario No. 1 (1975), an artists’ book in newspaper for- mat. Covered with her graphisms, it was undecipherable for any reader, including the censors in times of the Argentinian dictatorship. Other works released by the publishing house were Cahier No. 1 (1975), Article in Revue AXE No. 1 (1975) and Four Postcards (1978). Lourdes Castro’s book D’ Ombres (1974) and her large format prints Furrows (1974) were entirely realized in coloured silkscreen and Françoise Janicot’s book Rendez-vous (1973), in contrary, in Xerox technique. Avant- garde poet and musician Henri Chopin’s book: 29 novembre ’74. Portraits des 9 (1975) was also published, as was Roller Poem (1977) by Brion Gysin, one of his very rare graphic works. It consisted of a graphic poem, silkscreened on a long vertical sheet of translucent tracing paper. The collections ColleXtion and ColleXtion suite consisted each of a series of, at the same time, simple and precious artists’ books by various artists which are realized in offset, silkscreen, photography and photocopies. Among them was the first publisher-released book by the artist Bernard Villers, entitled Trace (1978). PRINTING WORKSHOP All publications by Guy Schraenen éditeur were developed in very close collaboration with the artists who had complete free- dom to conceive and produce their work. To facilitate this, a Printing Workshop was connected to the publishing house. It functioned as an artist residence, long before this term was coined. The artists were invited to explore and realize, among others, silkscreens, small offset publications and mimeographed 6 Cf. Archivo Mirtha Dermisache: http://mirthadermisache.com/biografia. php [last access: 09/01/2017]. Guy Schraenen. A foreigner abroad 81 Artworks Axe films, logo. 82 Maike Aden works. For many of them it was the occasion to publish a book for the first time. Among the artists who collaborated with Schraenen were, in addition to the above-mentioned Lourdes Castro, Henri Chopin, Mirtha Dermisache, Françoise Janicot, Brion Gysin and Bernard Villers, Bram Bogart, Ulises Carrión, Jean Degottex, Peter Downsbrough, François Dufrêne, Bernard Heidsieck, Jiří Kolář and many more. The main concern was independence from the definitions and ideologies of established institutions, critics and academics. Thus, many of these artists – even recognized now by specialists and the public in this particular field – were neglected by the traditional art world at that time. SOPHISTICATION Even if there is no generally recognised definition of the artists’ book, the common notion of it is mostly defined as correlating to a low- or anti-aesthetic mass produced look. Any beholder whose perspective is shaped by this prevailing concept will notice a certain subtlety inherent to a number of books 7 by Guy Schraenen éditeur. Compared to many other artists’ books, they feature a certain sophistication regarding the material, print technique, format, colour and design. Inserted cut outs, fold outs, collages, loose pages and original works distinguish these books from the more usual types of artists’ books. But as much as these anti-purist publications do not follow the aesthetic conventions of understated covers, typographies and materials, they are equally far removed from the realm of fine printing and for certain from handicraft object books which are so com- mon in the more populistic sectors of this field. Not many 7 The term artists’ book is used in the sense of artists’ publication here and includes all forms and subforms of published art works. Guy Schraenen. A foreigner abroad 83 artists’ publications fall between two stools like those published by Guy Schraenen éditeur. One could look at them as outsiders, or even “aliens”, as Schraenen himself calls them 8. But equally well one can consider them as – literally and figuratively – outstanding artworks in the form of a book which unite a persuasive concept and a corresponding aesthetic sensibility for material and formal aspects.
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